Published in Overland Issue 258 2025 · Uncategorized Three snowy hydro fragments Angela Gardner Passengers waiting to board the steamboat Eucumbene II women, a few in slacks most in skirts clutch cameras and handbags men in ties and hats — they gather at shore for the steamboat on grass that is dry, golden, sparse under a dead tree — offering no shade. Snow-covered houses at Cabramurra dark cowls on the chimneys of modular housing — tin sheds with brightly coloured doors — on the road above the camp all-terrain vehicles park up — others buried in snow. Tunnelling in the Eucumbene–Tumut tunnel underground, in an adit under lights the tunnel supported by sets and struts scaffolding a new emptiness — the mountain settles into bearing its different load. Angela Gardner Angela Gardner’s verse novel The Sorry Tale of the Mignonette, Shearsman, 2021 was a UK National Poetry Day recommendation. Her six poetry collections including Some Sketchy Notes on Matter, Recent Work Press, 2020 shortlisted for the Dorothy Hewett Award and the Thomas Shapcott Prize winning Parts of Speech, UQP, 2007. More by Angela Gardner › Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places. If you like this piece, or support Overland’s work in general, please subscribe or donate. Related articles & Essays 1 6 November 2026 · Friday Fiction Headland Harry Goddard He must have still been sore. I could tell from the winces he made as he scooted down the trail. Some unspoken agreement of not hitting other people’s children — and the circumstances of me not being that type of kid — spared me from the same punishment. I was taken to my parents who agreed I would have to work off the damages, and I must have mowed the lawn once, or cleaned the family car. 4 November 2026 · Film MIFF, Minotaur and the politics of maternal reception Alicia Byrnes Maternal labour is, in the terms I’ve set out here, not labour at all. Noisy, unfocused, mobile, perhaps even sleepy — it is an affront to arthouse film viewing and therefore unserious.